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I said it's enough
I begged and I ran in circles
I climbed to the sun
And fell in a concrete jungle
I said it's done
You never know if you'll get what you wish for
I climbed to the sun
And I fell, I fell in a concrete jungle
The coyotes cry
And the sirens pass and harmonize
Fires starting every day and night
Burn around us while we're trapped inside
Wouldn't it be nice
To play the game without a crooked die
In a world where you don't have to hide?
You don't have to live in a disguise
Ƈяєɗιтѕ&More Pics
Some houses impress with their architecture, while others captivate us with the way they make us feel. This beachfront residence belongs to the latter category: a haven where everyday life blends seamlessly with the sea breeze, the colors of summer, and the joy of sharing simple moments.
From the outside, the house emerges amidst palm trees, dunes, and coastal vegetation as a natural extension of the landscape. The contemporary lines of the building contrast gently with the freedom of the surrounding nature. There are no visual barriers between the garden and the house; everything seems designed to make the outdoors an integral part of the daily experience.
Arrival greets us with a scene that evokes memories of endless vacations. Softly striped lounge chairs rest on the sand, while a small beach hut, carefully decorated with towels and accessories, adds a nostalgic and familiar touch. Wild vegetation frames the path and adds movement, as if the ocean breeze were present even in a still image.
As you move toward the main terrace, the space reveals its true essence: a celebration of outdoor living. Woven armchairs, side tables, and a large parasol create distinct gathering nooks for conversation, reading, or simply contemplating the landscape. The warm wood of the deck adds texture and visual comfort, while the transparency of the expansive windows allows the interior and exterior to constantly engage in dialogue.
One of the most enchanting areas is the outdoor dining space. The table set next to the grill speaks not of design, but of experiences. It speaks of leisurely lunches under the sun, impromptu gatherings, friends arriving without haste, and shared meals that become cherished memories. Each element has a clear function, but also an emotional charge that transforms the space into something far more meaningful than a simple dining area.
Upon passing through the glass doors, the house reveals a vibrant and deeply creative personality. Colors appear freely, inspired by folk art, artisan markets, and the visual richness of tropical destinations. Printed textiles, hand-painted decorative pieces, sculptural lamps, and animal masks transform the walls into a veritable gallery of stories.
However, despite the abundance of details, the ambiance never feels overwhelming. The constant presence of plants, natural materials, and soft lighting creates a sense of balance. The greens of the cacti and tropical species harmonize with coral, blue, and yellow tones, generating a cheerful yet serene atmosphere.
The main living room conveys a feeling difficult to describe: that of a place where one could spend hours without looking at the clock. The inviting fabrics, carefully selected objects, and the presence of pets integrated into the scene contribute a genuine warmth that transcends decorating trends. Everything seems chosen to evoke a smile, spark curiosity, or simply offer comfort.
Perhaps that is the greatest virtue of this house. It doesn't try to impress with luxury or follow a specific trend. Its true beauty lies in its authenticity. It's a home that embraces summer without exaggeration, celebrates nature without sacrificing design, and reminds us that the most memorable spaces are those that make us feel good.
Here, amidst palm trees, vibrant colors, the aromas of shared meals, and corners brimming with personality, summer ceases to be just a season and becomes a way of life.
@The Arcade
1 KraftWork Summer Block Party Barbecue Grill RARE
10 KraftWork Summer Block Party Plastic Cutlery Basket
2 KraftWork Summer Block Party Picnic Table Wood RARE
12 KraftWork Summer Block Party Mini Bowl Onions
12 KraftWork Summer Block Party Mini Bowl Peppers
12 KraftWork Summer Block Party Sauces
13 KraftWork Summer Block Party Grilled Corn (dispenser)
14 KraftWork Summer Block Party Sausage Board (dispenser)
15 KraftWork Summer Block Party Grilled Veggies (dispenser)
16 KraftWork Summer Block Party Baked Potato Tray
17 KraftWork Summer Block Party Decor Plate A
17 KraftWork Summer Block Party Decor Plate B
17 KraftWork Summer Block Party Decor Plate C
17 KraftWork Summer Block Party Decor Plate D
18 KraftWork Summer Block Party Salt & Pepper Tray
2 KraftWork Summer Block Party Picnic Bench Wood RARE
7 KraftWork Summer Block Party Fence Wood
7 KraftWork Summer Block Party Gate Wood
9 KraftWork Summer Block Party Beer Cooler Orange (dispenser)
1.FINCA. CozyCafe . Support Coffee RARE
3.FINCA. CozyCafe . Sleepy
5.FINCA. CozyCafe . Overworked Moka
6.FINCA. CozyCafe . Lavender Cloud Cappuccino
7.FINCA. CozyCafe .Peach Cloud Cappuccino
8.FINCA. CozyCafe . Matcha Cloud Cappuccino
1.YOKAI - Purr-fect Summer - CatCrab RARE
11.YOKAI - Purr-fect Summer - Sailor Hat Cat
3.YOKAI - Purr-fect Summer - Cute Cat [foxy]
4.FINCA. CozyCafe . Tiny Angry Expresso LI:2
4.YOKAI - Purr-fect Summer - Cute Cat [grey]
9.YOKAI - Purr-fect Summer - StarFish Cat [night]
Pitaya - Untamed house - Candle holder
Pitaya - Untamed house - Coffee table
Pitaya - Untamed house - Fish stool
Pitaya - Untamed house - Frames (jaguar)
Pitaya - Untamed house - Frames (snake)
Pitaya - Untamed house - Jaguar sculpture
Pitaya - Untamed house - Masks Set 01
Pitaya - Untamed house - Masks Set 02
Pitaya - Untamed house - Painted vases 0
Pitaya - Untamed house - Painted vases 2
Pitaya - Untamed house - Pendants
Pitaya - Untamed house - Rug (check)
Pitaya - Untamed house - Rug (wave)
Pitaya - Untamed house - Sidetables
Pitaya - Untamed house - Sofa Green RARE
Pitaya - Untamed house - Tiled bench (small) White
Trompe Loeil Mainstore - Natsumi Modern Cabin + Walls & Plants @The Fifty
:FANATIK:
:FANATIK: AVON Rock 01
:FANATIK: AVON Rock 02
:FANATIK: AVON Rock 03
:FANATIK: AVON Rock 04
:FANATIK: AVON Rock 05
:FANATIK: AVON Rock 06
:FANATIK: AVON Rock 07
Hisa
HISA - Farm Grasses - Summer - High
HISA - Farm Grasses - Summer - Low
HISA - Flattened Field Grass
HISA - Ornamental Filler Grass - Forsythia
HISA - Ornamental Filler Grass - Lemon Grass - Green - Large
HISA - Ornamental Filler Grass - Northwind - Green
HISA - Rural Weeds - Yellow Cluster
HISA - Summer Grass Mixed Colors
HISA - Summer Grass White
HISA - Summer Grass Yellow
Zaker @equal10
ZAKER : Kaia Coffee Table
ZAKER : Kaia Parasol
Zaker @Anthem
ZAKER : Striped Beach Cabana YELLOW
ZAKER : Striped Beach Chair YELLOW
Excerpt from ampd.yorku.ca/brandon-vickerds-the-heights-is-a-41-foot-l...;
The 41-foot Corten steel sculpture “The Heights” towers over the Keele and Finch gateway evoking how the history of a place informs its present and the future.
Drawing inspiration from the one-room Elia Public School that stood near the sculpture’s current location between 1873-1956, Brandon Vickerd’s “The Heights” neatly connects the past with the present, highlighting how both Elia Public School and York University have helped to shape and drive the community it belongs to.
“The goal of this project is to acknowledge the historic significance of the site while celebrating the changing dynamic of the Keele and Finch intersection, says Vickerd. “This sculpture is about the relationship between time and memory. It reflects on the role of history in providing a guiding light that illuminates a path forward into the future.”
With its multi-faceted open design, rusted metal finish, and architectural abstraction of the Elia Public school, the sculpture balances its monumental size with a sense of dynamic tension and wonder. “The Heights” offers locals the opportunity to visually see the community in new ways, while reflecting on the physical, social, and economic changes in the neighborhood.
Vickerd credits AMPD with the academic knowledge and practical knowledge he’s gained that enabled him to create projects like “The Heights” sculpture. “It’s the accumulation of years of working with my colleagues and students in a way that can only happen at a university like York, which allows us to push boundaries, try out new ideas, think through things and experiment with materials. So, when opportunities like this come up, we can better develop successful projects and create a greater experience in the community for the people who live it day.”
The design process – including engineering revisions and community feedback – took six months, followed by another six months for building. Currently, the sculpture – funded and managed by Duke Heights BIA, but now a permanent collection of the City of Toronto – is visible because of its size and is open to the public for viewing.
It's surprising how the bluest flowers arrive in spring, harmonizing with the blue skies that come with it.
A bleak rural tableau on a wet and raw autumn day. I could not have imagined better conditions for this type of photography. Photos like this have much more impact when the weather and sky conditions harmonize with the subject matter. The wet road really helped seal the deal on this image.
Although this Lesser Yellowlegs looking away from me slightly, this may still be my favourite shot of one from that trip to Elk Island National Park. Without doubt it is the reflections and how those reflections harmonize with the colour of this elegant shorebird that I find so special.
Just found:
Bull (Taurus) corresponds to intermediary zone between the Elements of Fire and Water..
[J. Cirlot, Dictionary of Symbols, Second Edition, 1995, s. 34]
This rings my bell.
My OneOnly L8ve, not seen since 2004,
was born bull (May).
Me, as born 8.8, Lion, say half - lion, had always tremendous problems with Element of Earth, say pragmatism.
Fellines (Lions) are based on Elements of Fire [Creativity) and Earth.
Humans on Elements of Water (Feelings) and Earth.
Half man half inherit very problematic: Fire & Water marriage. That's why so little tries Earth.
That's why my l8ve was, as That Love, Bull, to balance by intermediary.
;-)
L8ve TSls are polarized to harmonize&balance, but complete as hologram both.
Okay, John and Jax. Having been tagged by both of you in less than 24 hours, I guess I really need to go ahead and devote the time to this task. My favorite 10 albums of all time. IMPOSSIBLE! It simply cannot be done. To try and cultivate into a mere 10 albums (and let alone rank them) a half a century of musical tastes and preferences is physically impossible. So I cannot even begin to do so.
I can however, relate to you perhaps ten albums that, for a plethera of reasons, have impacted who I am, how I feel about life or world issues or just everyday living, or have seeded themselves firmly into the medley of musical variations I have come to enjoy over the span of 50 years. Some are rock, some are country, some are blues, some are just uniquely different. But the majority of them have had their early roots in the blues, or have been influenced by various blues artists to some degree. So in no particular order, here they are.
SRV, Stevie Ray Vaughan and Double Trouble, The Sky is Crying.
Released about one year after Vaughan's death in 1990, the album features ten tracks originally recorded between 1984 and 1989.
The Sky Is Crying illustrates many of Vaughan's musical influences, including songs in the style of traditional Delta blues, Chicago blues, jump blues, jazz blues, and Jimi Hendrix. The album's tone alternates primarily between uptempo pieces and gritty, slow blues. The album includes a Grammy-winning extended instrumental cover version of Jimi Hendrix's "Little Wing"; "Chitlins con Carne", a jazz instrumental; and, "Life by the Drop", a song written by Vaughan's friend Doyle Bramhall and played on acoustic guitar. This song is not about Vaughan's struggle with drug abuse, as many think, but actually about Vaughan's friendship with Doyle Bramhall from Bramhall's perspective.
ZZ Top, Tres Hombres.
Tres Hombres is the third album by American blues-rock band ZZ Top, released in 1973, and marked the first of many times the band worked with engineer Terry Manning. It proved to be the group's commercial breakthrough, attracting a far larger fanbase. The album hit the top ten while the single "La Grange" hit 41 on the singles chart.
The band's name is often said to be a combination of two popular brands of rolling paper, Zig-Zag and Top. It has also been claimed as a tribute to blues singer Z. Z. Hill. However, Gibbons wrote in his autobiography, Rock + Roll Gearhead, that it actually came from a tribute to and a play on the name of blues guitar master B. B. King. The band had planned to call themselves Z.Z. King, but felt it was too similar. Since B.B. King was at the "top", they settled on ZZ Top.
In January 1973, ZZ Top opened for The Rolling Stones three shows in Hawaii. They also began recording with engineer Terry Manning at Ardent Studios in Memphis. The resultant third album, Tres Hombres (1973), was the first for which the band gained a million-seller and wide acclaim. Hombres featured ZZ's classic hit "La Grange", written about the Chicken Ranch, a famous La Grange, Texas bordello (that was also the subject of the musical The Best Little Whorehouse in Texas). Other album cuts like "Waitin' for the Bus" and its immediate follower "Jesus Just Left Chicago" became fan favorites and rock-radio staples. However, my favorite tune to be spawned on this album was "Hot, Blue and Righteous".
Delbert McClinton, Never Been Rocked Enough.
This album is probably the most currently produced album on my list here, and possibly on my list of the 50 most influential albums for me. It as produced and relased in 1992. Nothing since then, at least to my immediate knowledge, would make the list.
Delbert McClinton (born 4 November 1940, Lubbock, Texas) is a singer-songwriter, guitarist, harmonica player, and pianist. Active as a side-man since at least 1962 and as a band leader since 1972, he has recorded several major-label albums, and charted singles on the Billboard Hot 100, Mainstream Rock Tracks, and Hot Country Songs charts. His highest-peaking single was "Tell Me About It", a 1992 duet with Tanya Tucker which reached #4 on the Country charts. He has also had four albums that made it to #1 on the U.S. Blues chart, and another that reached #2.
His 1992 release of this album featured the hit single "Every Time I Roll the Dice", which made it to #13 on the US Mainstream Rock charts, While the album only made it to #113. He has written for and recorded with a group of musicians that reads like the who's who or the music industry, including John Lennon.
And at the legendary Skyliner Ballroom, where McClinton's band was the only white act to play its Blue Monday nights AND be the backing band for the headliners, he received a first-class tutelage from the masters of blues music like Jimmy Reed, Howlin' Wolf and Sonny Boy Williamson. McClinton cut a number of local and regional singles before hitting the national charts in 1962 playing harmonica on Bruce Channel's now classic “Hey! Baby.” On a subsequent package tour of England, Delbert showed some of his harp licks to the rhythm guitarist for a young band at the bottom of the bill. The lessons he gave John Lennon were later heard on hit singles by The Beatles; when the two met Lennon already knew the instrument's basics, and the experienced McClinton shared some new licks with him.
Pink Floyd, Momentary Lapse of Reason
A Momentary Lapse of Reason is the thirteenth studio album by English progressive rock group Pink Floyd. It was released in the UK and US in September 1987. In 1985 guitarist David Gilmour began to assemble a group of musicians to work on his third solo album. At the end of 1986 he changed his mind, and decided that the new material would instead be included in a new Pink Floyd album. Subsequently Pink Floyd drummer Nick Mason and keyboardist Richard Wright (who had left the group in 1979) were brought on board for the project. Although for legal reasons Wright could not be re-admitted to the band, he and Mason helped Gilmour craft what would become the first Pink Floyd album since the departure of lyricist and bass guitarist Roger Waters in December 1985.
The album was recorded primarily on Gilmour's converted houseboat, Astoria. Its production was marked by an ongoing legal dispute between Waters and the band as to who owned the rights to Pink Floyd's name, which was not resolved until several months after the album was released. Unlike most of Pink Floyd's studio albums, A Momentary Lapse of Reason has no central theme, and is instead a collection of rock songs written mostly by Gilmour and musician Anthony Moore. Although the album received mixed reviews and was derided by Waters, with the help of an enormously successful world tour it easily out-sold their previous album The Final Cut. A Momentary Lapse of Reason is certified multi-platinum in the US.
Although the amazing talents of Water's were not present on this album, it still spawned two of my all time favorite songs, "Dogs of War", and "On the Turning Away".
Iron Maiden, Live After Death.
Live After Death is a live album by the British heavy metal band Iron Maiden, released on October 14, 1985 on EMI in Europe and its sister label Capitol Records in the US (it was re-released by Sanctuary/Columbia Records in the US in 2002). It was recorded during the band's World Slavery Tour. The album was instrumental in establishing the band as an extraordinary live band and is regarded as one of the best live albums ever recorded.
For anyone with a love of metal, Iron Maiden is a must hear band. The cover art was done by Derek Riggs, and pictures the band's mascot, Eddie rising from a grave. On that grave is a tombstone with a quote from the fantasy and horror fiction author H. P. Lovecraft's The Nameless City:
"That is not dead which can eternal lie
Yet with strange aeons even death may die."
The proper quote is actually "And with strange..." instead of "Yet with strange...". A similar version of this phrase is used in Metallica's song "The Thing That Should Not Be" from the Master of Puppets album.
Queensryche, Operation Mindcrime.
Operation: Mindcrime is a concept album by American progressive metal band Queensrÿche. Released on May 3, 1988, it is the band's third full-length album. A rock opera, its story follows a man who becomes disillusioned with the society of the time and reluctantly becomes involved with a revolutionary group as an assassin of political leaders. The album is highly regarded within the heavy metal community, often labelled as one of the genre's finest works. It ranked at number 10 at metal-rules.com's best heavy metal albums ever. In January 1989, it ranked #34 on Kerrang! magazine's "100 Greatest Heavy Metal Albums Of All Time."
The album begins with the protagonist, Nikki, in a hospital. He lies in a near catatonic state, unable to remember anything but snippets from his past. Suddenly, Nikki's memories come flooding back in a torrent. He remembers how, as a heroin addict and would-be political radical frustrated with contemporary society, he was manipulated into joining a supposed secret organization dedicated to revolution. At the head of this organization is a political and religious demagogue known only as Dr. X, who by manipulating Nikki through a combination of his heroin addiction and brainwashing techniques, uses Nikki as an assassin. Whenever Dr. X uses the word "mindcrime" Nikki becomes his docile puppet, a state which Dr. X uses to command Nikki to undertake any murder that the Doctor wishes. Through one of Dr. X's probable associates, a corrupt priest named Father William, Nikki is offered the services of a prostitute-turned-nun named Sister Mary. Through his friendship and growing affection toward Sister Mary, Nikki begins to question the nature of what he is doing. Dr. X notices this and, seeing a potential threat in Mary, orders Nikki to kill both her and the priest. Nikki goes to Mary's church and kills the priest, but after confronting Mary fails to comply with the command to murder her. He and Mary decided to leave the organization together, and Nikki goes to Dr. X to tell him that they are out. Dr. X, however, reminds Nikki that he is an addict, and that he is the one who can provide him with his daily fix. Nikki leaves, conflicted and returns to Mary, only to find her dead, hanging from her own rosary. He cannot cope with the loss, as well as the possibility that he himself may have killed her and not known it, and begins to succumb to insanity. The police, arriving on the scene, arrest him for Mary's murder and the murders he committed for Dr. X. He is put into a hospital, where he begins to remember what has happened.
Rush, Hemispheres.
Hemispheres is the sixth studio album by the Canadian rock band Rush, released in 1978. The album was recorded at Rockfield Studios in Wales and mixed at Trident Studios in London. This album continues Rush's trend of using the fantasy and science fiction lyrics written by Neil Peart. Similar to their 1976 release, 2112, Hemispheres contains a single, epic song broken into chapters as the first half of the album ("Cygnus X-1, Book II: Hemispheres") while the second half contains two more conventionally-executed tracks ("Circumstances", "The Trees"), then is rounded out by the nine-and-a-half-minute instrumental, "La Villa Strangiato".
The album contains examples of Rush's adherence to progressive rock standards including the use of epic, multi-movement song structures, complex rhythms and time signatures, and flexible guitar solos, like those found in "La Villa Strangiato".
Hemispheres was Rush's fourth consecutive Gold album upon release in 1978 and would subsequently go Platinum in the US. For a short period of time, the album was released on Canadian red vinyl in a gatefold sleeve with poster (catalogue number SANR-1-1015), and as a limited edition picture disc (catalogue number SRP-1300),both have which become much sought after collectors items.
Hang in there, folks....only 3 to go. I apologize, but I try not to halfway do anything...LOL!
Metallica, Ride the Lightning.
Ride the Lightning is the second studio album by the American heavy metal band Metallica. It was released on July 27, 1984 through Megaforce Records and was re-released on November 19, 1984 by Elektra Records. Ride the Lightning was certified gold by the RIAA on November 5, 1987 and was most recently certified 5x platinum on June 9, 2003.
Ride the Lightning retains the speed of Kill 'Em All on songs like "Trapped Under Ice" and "Fight Fire with Fire", but also contains the first of Metallica's longer, more intricate tracks, such as "Fade to Black" and the nearly 9-minute closing instrumental "The Call of Ktulu". "Ride the Lightning" is the last Metallica album to credit former member, Dave Mustaine. Ride the Lightning was listed at #3 on a list compiled by metal-rules.com of the Top 100 Metal Albums of All Time.
"Ride the Lightning" is Metallica's first song which directly pointed on the misery of the criminal justice system. The song is one of two on the album that credits former member Dave Mustaine. The lyrics of the song "Ride the Lightning" are written from the perspective of someone who is forthcoming death-by-electrocution, although he didn't commit murder.
"For Whom the Bell Tolls" was composed by Cliff Burton, James Hetfield, and Lars Ulrich. The songs inspiration is Ernest Hemingway's novel For Whom the Bell Tolls about the dishonor of modern warfare and Robert Jordan's eminent doom during the bloody Spanish Civil War, with specific allusions to the scene in which five soldiers are obliterated during an air-strike, whilst taking a position on a hill.
The lyrics of Fade to Black suggest a man contemplating, then eventually committing suicide. Metallica revealed that they have received letters from fans who were dissuaded from committing suicide by the song.
"Creeping Death" describes the Plague of the Firstborn (Exodus 12:29). The lyrics deal with the 10 plagues on Egypt, and throughout the song, four of the ten plagues are mentioned as well as the Passover.
"The Call of Ktulu" was Metallica's second instrumental song, following the first instrumental "(Anesthesia) Pulling Teeth" from Kill 'Em All. The song working title was originally "When Hell Freezes Over".
The idea of the song "The Call of Ktulu" is based upon H.P. Lovecraft's book The Shadow Over Innsmouth which was first introduced to the rest of the band by Cliff Burton. The song's name was taken from one of H.P. Lovecraft's main stories featuring Cthulhu, The Call of Cthulhu, which was written in 1928 for the magazine Weird Tales. The name "Ktulu" is originally written "Cthulhu" by H.P. Lovecraft.
And all this time you thought they were just a bunch of fucking stoners.....hehehe.
Led Zeppelin, IV.
The fourth album by the English rock band Led Zeppelin was released on 8 November 1971. No title is printed on the album, so it is generally referred to as Led Zeppelin IV, following the naming standard used by the band's first three studio albums. Also the album has alternatively been referred to as , Four Symbols, The Fourth Album (those two titles each having been used in the Atlantic Records catalogue), Untitled, Runes, Sticks, ZoSo and The Hermit. Zoso is also the moniker for the band's guitarist, Jimmy Page.
Upon its release, Led Zeppelin IV was a commercial and critical success. The album is one of the best-selling albums in history at 37 million units. It has shipped over 23 million units in the United States alone, putting it third on the all-time list in the United States and twelfth world-wide. In 2003, the album was ranked 66th on Rolling Stone magazine's list of the 500 greatest albums of all time.
"Black Dog" got its name from a stray black dog that was roaming about the concourse of Headley Grange during recording sessions for the song.
"The Battle of Evermore" and "Misty Mountain Hop" are references to J.R.R. Tolkien's Lord of the Rings novels.
"Going to California" is a reference to John Steinbeck's The Grapes of Wrath.
The idea for each member of the band to choose a personal emblem for the cover was Page's. In an interview he gave in 1977, he recalled:
After all this crap that we'd had with the critics, I put it to everybody else that it'd be a good idea to put out something totally anonymous. At first I wanted just one symbol on it, but then it was decided that since it was our fourth album and there were four of us, we could each choose our own symbol. I designed mine and everyone else had their own reasons for using the symbols that they used.
Page stated that he designed his own symbol himself and has never publicly disclosed any reasoning behind it. However, it has been argued that his symbol appeared as early as 1557 to represent Saturn. The symbol is sometimes referred to as "ZoSo", though Page has explained that it was not in fact intended to be a word at all.
Bassist John Paul Jones' symbol, which he chose from Rudolf Koch's Book of Signs, is a single circle intersecting 3 vesica pisces (a triquetra). It is intended to symbolise a person who possesses both confidence and competence.
Drummer John Bonham's symbol, the three interlocking rings, was picked by the drummer from the same book. It represents the triad of mother, father and child, but also happens to be the logo for Ballantine beer.
Singer Robert Plant's symbol was his own design, being based on the sign of the supposed Mu civilisation.
There is also a fifth, smaller symbol chosen by guest vocalist Sandy Denny representing her contribution to the track "The Battle of Evermore"; it appears in the credits list on the inner sleeve of the LP, serving as an asterisk and is shaped like three triangles touching at their points.
And finally we make it home with....
Allman Brothers, Live at Fillmore East.
At Fillmore East is a double live album by The Allman Brothers Band. The band's breakthrough success, At Fillmore East was released in July 1971. It ranks Number 49 among Rolling Stone magazine’s 500 Greatest Albums of All Time and remains among the top-selling albums in the band’s catalogue. It is often cited as being one of the most well-known live recordings in history.
Recorded at the Fillmore East concert hall, the storied rock venue in New York City, on Friday and Saturday March 12, 1971–March 13, 1971, it showcased the band's mixture of blues, Southern rock and jazz. The cover of Blind Willie McTell's "Statesboro Blues" which opens the set showcases Duane Allman's slide guitar work in open E Tuning. "Whipping Post" became the standard for a long, epic jam that never lost interest (opening in 11/8 time, unusual territory for a rock band), while the ethereal-to-furious "In Memory of Elizabeth Reed", with its harmonized melody, Latin feel and burning drive invited comparisons with John Coltrane (especially Duane's solo-ending pull-offs, a direct nod to the jazz saxophonist).
The album was produced by Tom Dowd, who condensed the running time of various songs, occasionally even merging multiple performances onto one track. At Fillmore East peaked at #13 on Billboard's Pop Albums chart.
Two other songs recorded during the same set of shows, "Trouble No More", and the memorable "Mountain Jam", were later released on Eat a Peach, the latter spanning two sides of the double album.
Those songs were later included in their entirety, along with uncut versions of some, re-edited versions of others, and some previously omitted tracks, on a new release of the Fillmore material entitled The Fillmore Concerts (1992). "Stormy Monday" gained back a harmonica solo; "Don't Keep Me Wonderin'" and "Drunken Hearted Boy" were included as well.
In 1998 a 5.1 DTS mix of the original version was released with Duane Allman in the left rear channel, Dickey Betts in the right rear channel, Jai Johanny Johanson in the front left channel, Butch Trucks in the right front channel and Gregg Allman and Berry Oakley both spread out over the front and center channels.
George Kimball of Rolling Stone magazine hailed them as "the best damn rock and roll band this country has produced in the past five years." A few months later, group leader Duane Allman was killed in a motorcycle accident. The group survived that and the death of bassist Oakley in another motorcycle accident a year later; with replacement members Chuck Leavell and Lamar Williams, the Allman Brothers Band achieved its peak commercial success in 1973 with the album Brothers and Sisters and the hit single "Ramblin' Man". Internal turmoil overtook the band soon after; the group dissolved in 1976, reformed briefly at the end of the decade with additional personnel changes, and dissolved again in 1982.
In 1989, the group reformed with some new members and has been recording and touring since. A series of personnel changes in the late 1990s was capped by the departure of Betts. The group found stability during the 2000s with Warren Haynes and Derek Trucks, the nephew of their drummer, serving as its guitarists, and became renowned for their month-long string of shows in New York City each spring. The band has been awarded eleven gold and five platinum albums between 1971 and 2005 and was inducted into the Rock and Roll Hall of Fame in 1995. Rolling Stone ranked them 52nd on their list of the 100 Greatest Artists of All Time in 2004.
Created for Photoshop Contest ~ Week 1077
Thanks to Nekane Gonzales for starter image.
Completed in Photoshop PS25
BEST VIEWED LARGE
This guy reminded me of one of my late Mom's favorite songs. I would, then, harmonize with her and Dad would join in from time to time. Just one of many memorable moments I spent with them.
www.youtube.com/watch?v=kXUfpme4H30
I think this little guy is a warbler. But then again, what do I know about birds, nothing. I just see something that looks beautiful to me and I take a picture of it.
Happy First Week of December, Everyone!
Thank you so much for dropping by!
Manage moments while photography, chose or find some background to accentuate or harmonize. Background adds complementary Colour to the frame.
Siberian Stonechat
21 November, 2022
Rajaji National Park, Haridwar, Uttarakhand
OM1, 300f4-MC14
1/2000, f5.6, ISO640
Created for : Challenge 2000 photos
Thanks to JaciXIII for starter image.
All work completed in Photoshop PS26
BEST VIEWED LARGE
Photo of oil droplets from the oil & water macro abstract photography assignment captured via Minolta MD Macro Rokkor-X 100mm F/4 lens. Inside the creative halls of the 494 ∞ Labs. Early October 2020.
Exposure Time: 1/4 sec. * ISO Speed: ISO-100 * Aperture: F/8 * Bracketing: None * Color Temperature: 3500 K * Mood: Kodak Vision 2383 * Adaptor: 1:1 Extension Tube
Spring is coming at the speed of color… and, since color is light, that’s pretty fast. You’d better get out of the way! This is not only big, bold primary color, it’s complementary color. Remember Billy Crystal as Fernando? “You look mahhvelous!” Yes, read it the way it’s spelled… and then, “To look good is to feel good, dahhling!” That’s complimentary, but it’s not complementary. Do you remember learning about the color wheel? Colors on opposite sides of the wheel are complementary, or harmonizing. It involves a bit of science as to how the various photoreceptors in your eyes perceive contrastive colors… your brain just goes along with the ride and is quite often happy to do so. The most contrastive of the complementary colors are yellow/blue and red/green. Such colors have superpowers, able to lift one from a deep funk in a single bound! Hmmm… that seems familiar for some reason. The “deep funk” of winter’s grays and browns go ‘poof’ in the light of spring’s color BOOM.
This image was taken April 20th of 2013 at Biltmore gardens. It’s shot from the ground up with a polarizing filter to take out reflective color. Reflective color… that’s a story for another time. The floor is now open for complimentary discussion… go!
Excerpt from historicplaces.ca:
Description of Historic Place
The Navy Hall stands alone in a carefully manicured park setting just below Fort George National Historic Site. Designed with clear, clean lines, it is a low, rectangular, stone-clad structure with a hipped-roof clad in copper, and with a symmetrical organization of its windows and entry points. The designation is confined to the footprint of the building.
Heritage Value
The Navy Hall is a Recognized Federal Heritage Building because of its historical associations, and its architectural and environmental values.
Historical Value:
The Navy Hall is a very good example of a building associated with the beginnings of the heritage movement in the first half of the 20th century. It illustrates changing approaches to the management of important historic buildings over time. In particular, it illustrates the role of aesthetics in conservation in the 1930s. Originally a commissariat storehouse, regular troops, the militia and also the Boy Scouts used the building, built in 1815. In the 1930s, the building was taken over by the Niagara Parks Commission.
Architectural Value:
The Navy Hall is valued for its good aesthetic design. The exterior fabric of the structure, the stone cladding, the copper clad roof, and the enhanced symmetry of the fenestration are features of the 1930s intervention. These features, clearly of a later era and philosophy, reflect the classical revival tastes of the period and the design idiom of the Niagara Parks Commission. Good functional design is evidenced in the placement of doors and windows, and in the spatial arrangement and planning of the interior.
Environmental Value:
The Navy Hall reinforces the landscaped parkway that runs along the Niagara lakefront and is a familiar landmark to residents and to visitors.
Character-Defining Elements
The character-defining elements of the Navy Hall should be respected.
Its good aesthetic, good functional design and good quality materials and craftsmanship, for example:
-the simple, rectangular massing.
-the low-pitched hipped roof, the copper roof cladding, and the symmetrically placed chimneys.
-the stone cladding of the exterior walls, the small multi-paned windows and large entrances.
-the interior spatial arrangement of the principal rooms.
The manner in which the Navy Hall reinforces the landscaped setting and is a familiar landmark, as evidenced by:
-its simple design and materials that harmonize with the landscaped parkway consisting of well-maintained lawns and walks, all introduced as part of the Niagara Park Commission’s parkway landscaping in the 1930s.
-its visibility and recognition by those frequenting the parkway and the National Historic Site.
Parlamentsgebäude, in the Museumsquartier district of Vienna in Austria.
It is where the two houses of the Austrian Parliament conduct their sessions. The building is located on the Ringstraße boulevard, near Hofburg Palace and the Palace of Justice. It was built to house the two chambers of the Imperial Council (Reichsrat), the bicameral legislature of the Cisleithanian (Austrian) part of the Austro-Hungarian Empire. Since its construction, the Parliament Building has been the seat of these two houses, and their successors—the National Council (Nationalrat) and the Federal Council (Bundesrat)—of the Austrian legislature.
The foundation stone was laid in 1874; the building was completed in 1883. The architect responsible for its Greek Revival style was Theophil Hansen. He designed the building holistically, aiming to have each element harmonizing with all the others. He was therefore also responsible for the interior decoration, such as statues, paintings, furniture, chandeliers, and numerous other elements. Hansen was honored by Emperor Franz Joseph with the title of Freiherr (Baron) after its completion. Following heavy damage and destruction in World War II, most of the interior has been restored to its original splendour.
The parliament building covers over 13,500 square meters, making it one of the largest structures on Ringstraße. It contains over one hundred rooms, the most important of which are the Chambers of the National Council, the Federal Council, and the former Imperial House of Representatives (Abgeordnetenhaus). The building also includes committee rooms, libraries, lobbies, dining rooms, bars and gymnasiums. One of the building's most famous features is the Pallas Athena fountain in front of the main entrance, built by Carl Kundmann after plans from Hansen, from 1898 to 1902 and it is a notable Viennese tourist attraction.
The Parliament Building is the site of important state ceremonies, most notably the swearing-in ceremony of the President of Austria and the state speech on National Day each October 26. The building is closely associated with the two parliamentary bodies, as is shown by the use of the term Hohes Haus as a metonym for "Parliament". Parliamentary offices spill over into nearby buildings, such as the Palais Epstein.
Information Source:
No cume da Serra da Marofa, a 977 metros de altitude, ergue-se o Cristo Rei, uma estátua emblemática do concelho de Figueira de Castelo Rodrigo, erigida em 1956. Este monumento em granito é um importante ponto de observação, permitindo vistas panorâmicas sobre a vila e a paisagem em mosaico agrícola, marcada por vinhas, olivais e amendoeiras. O local integra um percurso de via-sacra, usado em romarias, e é não só um símbolo religioso, mas também um corredor ecológico que abriga diversas espécies do interior beirão. A estrada que leva ao Cristo Rei inicia-se em Figueira de Castelo Rodrigo e liga a aldeia histórica de Castelo Rodrigo, trazendo à tona a relevância histórica da região como ponto de vigia natural. Este espaço harmoniza a herança cultural e os valores naturais da fronteira portuguesa, atraindo turistas e peregrinos em busca de espiritualidade e contemplação da beleza paisagística.
At the summit of the Serra da Marofa, at an altitude of 977 meters, stands the Cristo Rei, an iconic statue of the municipality of Figueira de Castelo Rodrigo, erected in 1956. This granite monument is an important vantage point, offering panoramic views of the town and the mosaic-like agricultural landscape, marked by vineyards, olive groves, and almond trees. The site is part of a Way of the Cross route, used for pilgrimages, and serves not only as a religious symbol but also as an ecological corridor that shelters various species native to the Beira interior. The road leading to Cristo Rei begins in Figueira de Castelo Rodrigo and connects to the historic village of Castelo Rodrigo, highlighting the region’s historical significance as a natural vantage point. This site harmonizes the cultural heritage and natural values of the Portuguese border, attracting tourists and pilgrims in search of spirituality and contemplation of the scenic beauty.
Conditions de prises de vues très diificiles dans cette cathédrale, peu de lumière.
L’orgue de la cathédrale Saint-Bertrand de Comminges possède l’un des plus beaux buffets Renaissance conservé à ce jour et classé Monument Historique depuis 1840. Commandé par Jean de Mauléon, évêque du Comminges, il fut réalisé après l’achèvement des stalles du chœur en 1551.
Comme les stalles, ce buffet serait l’œuvre de Nicolas Bachelier, architecte et sculpteur français (1487 – 1556) à qui l’on doit, entre autre, le célèbre Hôtel d’Assézat à Toulouse.
Le nom du facteur et la composition d’origine de l’instrument nous sont inconnus. Il subira de nombreux avatars au cours des siècles et, en 1793, les tuyaux de montre seront fondus et l’instrument abandonné.
De l’instrument Renaissance enfermé dans ce buffet, il ne reste rien. Pour imaginer en quoi pouvait consister l’instrument commandé par Jean de Mauléon, évêque du Comminges, on en est réduit à formuler des hypothèses, en se référant d’une part à la composition connue d’orgues de cette époque, à la structure du buffet, et d’autre part, à la littérature pour clavier éditée autour des années 1550. Les parties les plus anciennes (2 sommiers de grand orgue de 48 notes et deux petits sommiers de pédale, plus quelques jeux anciens, bourdons et flûtes) remontent aux XVIIe et XVIIIe siècles.
Bernard Raupp, facteur d’orgues à Mirande, a retrouvé des dessins sur des soupapes des sommiers de grand orgue, qui peuvent être attribués à Jean-François Lépine. Le reste résulte des reconstructions successives menées au cours des siècles suivants.
En 1896, les frères Magen reconstruisent l’orgue et livrent un instrument à 2 claviers et pédale.
En 1970, Robert Chauvin restaure les sommiers du Grand Orgue, puis sous la direction de Pierre Lacroix, la reconstruction de l’instrument actuel est confiée à Jean-Pierre Swiderski et réalisée en plusieurs tranches, de 1975 à 1981. À l’exception de 218 tuyaux du XVIIe siècle et de 243 tuyaux de Magen, la tuyauterie est entièrement neuve. Réalisée à la demande, elle a été harmonisée par Jean-Pierre Swiderski pour les jeux de fonds et Georges Lhôte pour les jeux d’anches. L’instrument conserve encore deux sommiers de 14 jeux au Grand Orgue et deux sommiers 4 jeux à la pédale remontant au XVIIe siècle.
Depuis 1974, la commune de Saint-Bertrand-de-Comminges, propriétaire, a délégué ses pouvoirs à l’Association des Amis de l’Orgue de Saint-Bertrand-de-Comminges, en vue de la restauration et de l’entretien de l’instrument.
Very difficult shooting conditions in this cathedral, little light.
The organ of the Saint-Bertrand de Comminges cathedral has one of the most beautiful Renaissance cases preserved to date and classified as a Historic Monument since 1840. Commissioned by Jean de Mauléon, bishop of Comminges, it was made after the completion of the stalls of the choir in 1551.
Like the stalls, this buffet would be the work of Nicolas Bachelier, French architect and sculptor (1487 – 1556) to whom we owe, among other things, the famous Hôtel d’Assézat in Toulouse.
The name of the maker and the original composition of the instrument are unknown to us. It will undergo many avatars over the centuries and, in 1793, the watch stems will be melted down and the instrument abandoned.
Of the Renaissance instrument enclosed in this case, nothing remains. To imagine what the instrument ordered by Jean de Mauléon, bishop of Comminges, could consist of, one is reduced to formulating hypotheses, by referring on the one hand to the known composition of organs of this period, to the structure of the buffet, and on the other hand, to keyboard literature published around the 1550s. in the 17th and 18th centuries.
Bernard Raupp, organ builder in Mirande, found drawings on the valves of the windchests of the great organ, which can be attributed to Jean-François Lépine. The rest is the result of successive reconstructions carried out over the following centuries.
In 1896, the Magen brothers rebuilt the organ and delivered an instrument with 2 keyboards and pedal.
In 1970, Robert Chauvin restored the windchests of the Grand Orgue, then under the direction of Pierre Lacroix, the reconstruction of the current instrument was entrusted to Jean-Pierre Swiderski and carried out in several stages, from 1975 to 1981. With the exception of 218 pipes from the 17th century and 243 pipes from Magen, the pipework is completely new. Produced on demand, it was harmonized by Jean-Pierre Swiderski for the back stops and Georges Lhôte for the reed stops. The instrument still retains two 14-stop windchests in the Grand Orgue and two 4-stop pedal windchests dating back to the 17th century.
Since 1974, the municipality of Saint-Bertrand-de-Comminges, owner, has delegated its powers to the Association of Friends of the Organ of Saint-Bertrand-de-Comminges, with a view to the restoration and maintenance of the tool.
These days models are dime a dozen. In fact, she did not even cost me 1/12 of a dime.
Just select an interesting background and make it a contest. I've selected this girl, as her dress harmonized the best with those illuminated panels. I could not find out the artist who is responsible for the display. I may still try.
456. TMR Toronto 2020- July -15, P1400132; Uploaded 1. Aug, 2020. Lmx -ZS100.
This image captures the tranquil and majestic beauty of the Grüner See in Austria, surrounded by the steep, rugged Alps. The crystal-clear water reflects the surrounding trees and mountains, enhancing the breathtaking natural scenery. The deep greens of the water harmonize perfectly with the lush forest that stretches up to the craggy rocks in the background. The serene, cloud-covered sky adds a calming, almost meditative mood to the scene, inviting the viewer to immerse themselves in the untouched nature.
Can't think of many better ways to spend a Saturday evening.
Image imagined in MidJourney AI and finished with Topaz Studio 2.0 and Lightroom Classic.
Le facteur Christian Müller et le sculpteur Jan van Logteren, tous deux d'Amsterdam, ont construit l'instrument entre 1735 et 1738. Avec ses 60 jeux et ses imposantes tours abritant les jeux de 32' de la pédale, cet orgue fut, pendant plusieurs années, le plus grand instrument du monde. Händel, Mozart et Mendelssohn font partie des célèbres visiteurs qui vinrent jouer cet instrument.
Plusieurs modifications ont été apportées à l'instrument au cours des 19e et 20e siècles selon les goûts du jour. Le but de la restauration majeure de 1959-1961 par la firme Marcussen & Son était de restorer l'instrument aussi près que possible de l'original. Au cours des années 1987 à 2000, la firme Flentrop Orgelnouw a travaillé sur l'harmonisation de l'instrument.
The organbuilder Christian Müller and the sculptor Jan van Logteren, both from Amsterdam, built the instrument between 1735 and 1738. With its 60 stops and its imposing towers housing the 32' stops of the pedal, this organ was, during several years, the largest instrument in the world. Händel, Mozart and Mendelssohn are among the famous visitors who came to play this instrument.
Several modifications were made to the instrument during the 19th and 20th centuries according to the tastes of the day. The aim of the major restoration of 1959-1961 by the firm of Marcussen & Son was to restore the instrument as close to the original as possible. During the years 1987 to 2000, the firm Flentrop Orgelnouw worked on the harmonization of the instrument.
This is a simple, classic still life, of course... It has been set in a hearth, sporting a copper pot courtesy of my mother-in-law Antonia, and a firedog in the background. And it should be tasted listening to this cheery execution of the two Quodlibet by Bach (the so-called Wedding quodlibet BWV 524, followed by the 30th variation ending the Goldberg variations BWV 988 - starting at 10 min 16'').
As for the quodlibet (Latin word for "whatever you wish"), it was a common practice to mix different tunes - most often from folk songs - into one.
It should be noted that according to Forkel, Bach's earliest biographer, quodlibets were a custom observed at Bach family reunions: "they then sang popular songs partly of comic and also partly of indecent content, all mixed together on the spur of the moment. (…) This kind of improvised harmonizing they called a Quodlibet, and not only could laugh over it quite whole-heartedly themselves, but also aroused just as hearty and irresistible laughter in all who heard them."
So quodlibets are endowed with the rich scent and the good humour of familiar, everyday life. Hope that you will enjoy both the picture and the music. Wish you all a good wekend.
Just allow me a concluding linguistic afterthought. For the vast majority of you who do not know Italian, I must say that I love the English phrase "still life" - for in Italian this kind of subject is called a natura morta (i.e. dead nature, dead things). I like much better "still life", which entails the idea that the portrayed things may not be so dead - just temporarily removed from the flux of the life of the world to perform a lasting performance which will render them durable :-)
🌸 In the quiet glow of a sunlit room—where tall leaves stretch toward the windows and old books rest patiently along polished wooden shelves—I slip into the Bloom Jumpsuit by PurpleMoon and feel the entire space soften around me. The light filters through the greenery like a garden captured indoors, and the fabric of the jumpsuit answers with a gentle shimmer of pink and pearl. In this moment, surrounded by warm wood and botanical calm, the design feels perfectly at home. It is more than something I wear. It becomes part of the atmosphere… something that allows a woman to move through a room with quiet, luminous confidence.
The silhouette is pure elegance. The Bloom Jumpsuit drapes across my body in a long, fluid line that feels both modern and timeless. A daring halter neckline plunges gracefully, framing my collarbones and shoulders while guiding the eye downward along a sculpted torso. The waist gathers softly before releasing into an uninterrupted cascade of fabric that glides toward the floor. Each step creates a subtle movement in the material, giving the impression that the jumpsuit flows like liquid silk around my legs. Its PBR texture catches every shift of light, creating delicate sparkles that dance across the surface as I move.
There is a subtle echo of fashion history within this design that I adore. During the late 1960s and throughout the glamorous 1970s, the elegant evening jumpsuit emerged as a daring alternative to the traditional gown. Women embraced silhouettes that allowed freedom, strength, and sensuality all at once. Style icons such as Bianca Jagger and Lauren Hutton helped elevate the jumpsuit into a symbol of confident femininity. Wearing Bloom, I feel connected to that era—when sophistication was defined not by excess but by the graceful confidence of the woman wearing it.
PurpleMoon enriches the experience with a truly luxurious Mega Fatpack HUD that transforms Bloom into an entire wardrobe of moods. Beyond its elegant palette of colors, the megapack includes exclusive bonus colors and unique patterns, allowing me to shift from soft romantic tones to bold statement textures with effortless ease. One of my favorite features is the **optional sparkle layer**, included exclusively in the Mega Fatpack. With a simple click, I can activate an additional shimmering overlay that enhances the jumpsuit’s glow, creating a dazzling effect as light moves across the fabric. It feels almost magical—like wearing a constellation of tiny reflections that follow every motion.
The fit is beautifully crafted to complement today’s mesh bodies, ensuring the jumpsuit’s long elegant line remains flawless. Bloom is designed for Maitreya + Petite, Lara X + Petite, Legacy, Reborn, Waifu, and GenX Classic bodies, allowing the garment’s graceful drape to embrace the form naturally.
To complete the look, I step into the Kalisha Heels, also designed by PurpleMoon. These heels provide the perfect contrast to the softness of the jumpsuit. Their sleek pointed-toe stiletto silhouette elongates the leg line dramatically, while rows of delicate metallic studs across the upper introduce just the right touch of attitude. The graceful arch of the heel lifts my posture and adds confidence to every step. Through the included HUD, the Kalisha Heels offer customizable colors and details, allowing them to harmonize beautifully with whichever Bloom palette I choose.
Together, the Bloom Jumpsuit and Kalisha Heels feel like a perfectly composed fashion moment—romantic yet powerful, elegant yet daring.
This beautiful ensemble is now premiering at the Swank Wild Spring Event, where seasonal fashion blossoms in celebration of creativity and style.
🌿 Swank Wild Spring Event
maps.secondlife.com/secondlife/Swank%20Events/128/124/39
Standing here among leaves, warm light, and the gentle shimmer of Bloom, I am reminded that true style has never been about extravagance. It is about how a garment moves with you… how it allows your confidence to quietly radiate into the room.
“Fashions fade. Style is eternal.”
— Yves Saint Laurent 🌸
💋 The evening unfurled like silk — that perfect hush before twilight deepens into desire. I leaned against the stone ledge outside my home, my faithful cat perched beside me, his blue eyes reflecting the amber glow of the porch light. He watched me the way only cats can — patient, knowing, as if he understood that tonight wasn’t just another night. Somewhere down the road, headlights would appear, and with them, him.
✨ The Hale Outfit by Enchantress clung to me like a secret I wasn’t ready to tell. Its silhouette — a masterwork of sensual architecture — sculpted every curve, tracing the hourglass of my form with confidence and a whisper of rebellion. The bodysuit’s daring plunge revealed just enough to suggest the rest, framed by a belt of metallic rings that shimmered like moonlight against crimson leather. It felt both dangerous and divine, a perfect balance between softness and control.
🌹 There’s something timeless about its cut — a revival of 1950s bombshell glamour blended with the unapologetic edge of 1980s high-shine couture. It’s the kind of design that refuses to belong to one decade, existing instead in that eternal realm where confidence becomes the ultimate accessory. The supple, leather-like finish moves like a second skin, every step an unspoken promise.
💄 The Enchantress Hale Outfit HUD is its own love letter to versatility: 30 rich, customizable shades for the bodysuit, belt, and boots — a palette that ranges from soft blush to midnight noir. One tap and the entire mood shifts. Red for passion. Black for mystery. Gold for the woman who knows her power.
🐾 My cat brushed his tail against my arm, a gentle reminder that I wasn’t alone in my anticipation. The night carried the faint scent of roses and rain on warm pavement. When I caught the first glint of headlights approaching, my lips curved into a quiet smile. I could almost feel his pulse quicken already — though he hadn’t yet seen what waited for him beneath the stars.
💫 Compatible mesh bodies:
• Maitreya + Petite
• Lara X + Petite
• Reborn & Waifu
• Legacy + Perky + Bombshell
• Gen X Classic & Curvy
• Kupra
• Star
💎 And tonight, my skin told a story of its own. Draped beneath the open cut of my Hale Outfit is the Venus Midnight Rose Tattoo Set, a masterpiece of sensual ink artistry that evolves with mood and memory. This set offers twelve exquisite tattoo options, each one a different chapter of the same love story — from the passionate to the timeless.
There’s Fresh, with its newly-inked vibrance and luminous, saturated tones that look as if the roses were painted moments ago… and Fresh BW, the same precision rendered in classic monochrome for a strikingly elegant contrast. Faded softens the bloom, giving the petals a lived-in sensuality, while Faded BW whispers of nostalgia in grayscale. The Aged and Aged BW layers deepen that romance, their muted pigments warming to the skin like memories etched over time. For those who adore the character of history, Old and Old BW embody the allure of vintage ink, weathered beautifully yet forever captivating. Then come the artist’s full expressions — Color and BW — lush or minimal, each emphasizing the tattoo’s exquisite floral detail. Finally, Tint and Tint BW invite personal creativity, allowing soft hue adjustments to harmonize with your tone, mood, or outfit.
Each version transforms how the roses unfold against the skin — some bold and fiery, others whisper-light — all revealing a part of who I am beneath the Hale’s crimson silhouette. Beneath the glow, the roses seem to breathe with me, turning my body into a living canvas of passion, elegance, and feminine power.
🌙 Both the Enchantress Hale Outfit and the Venus Body Heart Tatto are exclusive at the Swank Goth October Event from October 7th to October 30th.
💋 [Teleport to the Event]
maps.secondlife.com/secondlife/Swank%20Events/128/124/39
As the car slowed to a stop, I looked at my cat and whispered,
“Wish me luck.”
He blinked once, as if to say, He won’t stand a chance.
What would the world look like if there was only one kind of identical flower, one kind of tree, all the same, an unchanging cloudless sky, one kind of animal and one only? One religion, one and only one point of view, one kind of child--all boys or all girls, all looking the same, inhabiting one huge nation that covered the earth?
Variety is everything. Differences make the world great. Harmonizing differences is the goal of the gardener. Great leaders are gardeners, respecting the earth's diversity and all its peoples. Some demigods harbor a soul like weed killer, poisoning everything they touch. They can never hurt enough people to satisfy their desire for power.
Those of us who follow the organic and ecological works mixed with Elicio Ember's fantasy, have been able to observe how he can place the admired Tolkian elves both in a city that had nothing to envy Rivendell as in a dark and swampy swamp. Preserving a structure between Celtic and Viking in the constructions, it harmonizes with the environment with the colors and the moss that covers everything until it transforms the swamp and the buildings into a single being. The place keeps the magic in a delicate and subtle way, like the secrets of its inhabitants and the life forms that swarm around.
travellintimesecondlife3.wordpress.com/2023/04/20/fantasy...
🍁 Annabel and the Art of Autumn 🍂
There’s something extraordinary about how autumn whispers through my wardrobe — how the hush of falling leaves, the scent of rain-soaked cedar, and the warmth of amber sunlight seem to find their way into fabric, lace, and silk. My Annabel Outfit by Zenessa feels born from that moment — when the air turns gold and everything softens. Its silhouette, tenderly sculpted and irresistibly feminine, traces my curves with a painter’s devotion. The delicate satin finish catches the light like morning dew on copper leaves, while the optional puffed sleeves flutter with a charm that recalls 18th-century pastoral romance.
It is as if nature herself inspired its creation — biophilia woven into design — that ancient longing to surround ourselves with what is alive and organic. The Annabel hues, from dusk rose to deep onyx, evoke the sensual poetry of autumnal light; the kind that glows just before twilight when desire and reflection entwine. 🌾
✨ VV Paris 9 Prentice Hold-Up Stockings
Completing the ensemble, my legs are embraced by VV Paris’ Prentice Hold-Ups — those timeless seamed stockings that redefined allure in the 1940s and continue to seduce today. Crafted in voile extensible sheer stretch, they sculpt with quiet sophistication.
Each pair is whisper-thin yet resilient, finished with authentic dentelle de Calais lace that clings with barely a sigh. Their HUD offers a palette of classic tones — noir, chocolate, champagne, rose, sable, marine, plum, nude, and ivory — all tinted with the soft nostalgia of candlelight. These are not merely stockings; they are an attitude, a gesture of confidence that moves like silk smoke across skin.
🌻 Venus “Paradisa” Body Tattoo
And beneath the fabric, art blooms. VENUS Paradisa, a masterpiece in color and detail, celebrates the living garden of the human form. Every line and petal unfurls like a story — sunflowers, peonies, and fruit-laden vines dancing over shoulders and hips in a vivid ode to fertility and freedom. The HUD allows me to choose among 12 versions — Fresh, Faded, Aged, Old, Color, BW, and Tint — a complete narrative of time and memory painted across the body. It’s sensual but intelligent; wild yet intentional — like passion itself. 🍂
Together, the Zenessa Annabel Outfit, the VV Paris Prentice Hold-Ups, and the VENUS Paradisa Tattoo harmonize into an autumnal symphony — fashion touched by nature’s own hand, celebrating rebirth, sensuality, and the artistry of change.
Available now at the SWANK November “Fall into Autumn” Event:
🌐 maps.secondlife.com/secondlife/Swank%20Events/128/124/39
🍁"Fashion is the season’s heartbeat — nature’s rhythm stitched into what we wear."
Garyu-in is a building that took 10 years to conceive and four years to construct. This one-story main building with a thatched roof and rural-style hipped roof construction was designed to harmonize with the beauty of its natural surroundings, with careful consideration to every detail, using selected fine woods from all across Japan.
In the heart of a dense, ancient forest, where the trees whispered secrets and the air hummed with magic, there lived a fantastical gypsy. Cloaked in an air of mystery and adorned with enchanting attire, she wore the irrISIStible Fortune Teller Full Outfit with Skin + Accessories, a garment that seemed to have been woven from dreams and stardust. Tailored for both Legacy and Maitreya, the outfit bestowed upon her an aura of otherworldly elegance, making her presence in the woods even more enchanting.
Her attire was a vibrant tapestry of colors – a blend of blues, purples, and yellows that harmonized with the natural hues of the forest. Adorned with intricate accessories, each piece told a story of ancient wisdom and mystical knowledge. Her skin, touched by the glow of the woodland spirits, radiated a gentle, ethereal light, making her seem like a living embodiment of the forest’s magic.
But the gypsy was more than just a vision of beauty; she possessed a profound connection with the mystical forces that dwelled in the woods. Among the ancient trees stood the irrISIStible Gypsy Wagons + Furnitures and Anim 2023, their shades of Blue, Purple, and Yellow blending seamlessly with the natural surroundings. These magical carriages were not just inanimate objects; they were living entities, pulsating with the essence of the forest itself. Within their ornate interiors lay a world of wonders – aromatic herbs, shimmering crystals, and ancient artifacts, all carefully curated by the gypsy.
Located amidst the whispering leaves and rustling branches, the irrISIStible Shop was a haven for seekers of magic and wonder. It was here that the gypsy’s creations came to life, where the Fortune Teller Full Outfit and the Gypsy Wagons found their way into the hands of those who longed for a touch of the fantastical in their lives.
Visitors from far and wide would make pilgrimages to the irrISIStible Shop, drawn by the allure of the gypsy’s mystical offerings. They marveled at her attire, enchanted by the vibrant colors and intricate details. The wagons, with their bewitching shades, captured their imaginations, inviting them to step into a world where reality and fantasy merged seamlessly.
The tale of the enchanting gypsy in the woods spread far and wide, carried on the whispers of the wind and the songs of the birds. She became a legend, a symbol of the hidden wonders that the world held for those who dared to believe in the fantastical. In the heart of the ancient forest, where the mystical and the mundane coexisted, the enchanting gypsy continued to weave her magic, reminding the world that sometimes, all it took to experience wonder was a little belief and a dash of imagination.
The favourite shot of my favourite spot :-)
Yesterday evening the time was due for the sunset I had waited for more than 3 months since I discovered this place. Everytime I went there I had either a clear sky which also looked quite nice or the sky just didn't have the right color to harmonize with the field. As I was drivin to Heidelberg yesterday I noticed some nice soft clouds building up in the sky, not real clouds just those soft strokes of white and I thought well let's give it a try this might get nice. And finally I was rewarded, the 5th or sixth time I went to this location all was in place. The field had turned golden, no wind so I could get a sharp shot of the field, beautiful sky and great sunset.
I'm quite happy that I didn't skrew it :-) I did focusstacking with f/11 here + 3 exposure bracketing + I used my Lee 0.6 GND. All in place and this was the last shot I took.
Only thing which wasen't so perfect where the mosquitos and me wearing shorts in this field. wow this was quite itching :-)
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Some 1,500 light-years away in Gemini, the Medusa Nebula is the dying breath of a Sun-like star. As the star exhausted its fuel, it shed its outer layers into space — filaments of gas that now glow in the ultraviolet light of the white dwarf smoldering at its core.
The result is a complex bubble of ionized hydrogen and oxygen nearly four light-years across, still slowly expanding into the surrounding void. The intricate serpentine wisps give the nebula its name
The nebula will continue to expand and dissipate over tens of thousands of years. What we see now is a transient moment in that long decline.
Taken from Happy Jack, Arizona, March 2026
This is an HOOS image with about 4 hours for each filter. The S was added as magenta color, to harmonize with the red Ha. The whitish areas are where all 3 wavelengths overlap.
Taken with Paramount MYT mount, ASI 2600MM camera, and Vixen VC200L telescope @ 1800 mm focal length
The telescope is courtesy of Larry Parker, Santa Rosa, CA.
Le bâtiment Richard Meier, d'un blanc éclatant, se dresse au cœur de la nature environnante. Que les visiteurs se réjouissent : là où l'art et le nouveau bâtiment du musée s'harmonisent, ils seront les gagnants. Ici, pas de compétition pour occuper la vedette, mais un lieu empreint d'art, un lieu qui révèle sa vraie nature et offre un écrin aux œuvres de l'artiste-mécène du musée ainsi qu'à l'art contemporain.
« Mon architecture ouverte et transparente crée des transitions fluides entre l'intérieur et l'extérieur et reflète le même lien avec la nature que celui exprimé dans les œuvres de Hans Arp. »
En tant que l'un des plus grands architectes de musées internationaux, Richard Meier se réfère dans son architecture aux principes du modernisme classique, un style qui a connu son apogée au début du XXe siècle. Cette époque a également façonné l'œuvre du duo d'artistes Hans Arp et Sophie Taeuber-Arp. Le bâtiment de Meier est baigné de lumière et semble emmener les visiteurs hors de leur quotidien. Ici, les œuvres trouvent un espace propice à leur épanouissement.
The dazzling white Richard Meier Building stands out in the heart of the surrounding nature. Visitors can rejoice: wherever art and the new museum building harmonize, they will be the winners. Here, there's no competition for the spotlight, but a place imbued with art, a place that reveals its true nature and provides a showcase for the works of the museum's artist-patron as well as contemporary art.
"My open and transparent architecture creates seamless transitions between indoors and outdoors and reflects the same connection with nature expressed in the works of Hans Arp."
As one of the greatest international museum architects, Richard Meier refers in his architecture to the principles of classical modernism, a style that reached its peak in the early 20th century. This era also shaped the work of the artist duo Hans Arp and Sophie Taeuber-Arp. Meier's building is bathed in light and seems to transport visitors away from their everyday lives. Here, the works find a space conducive to their development.
Puente del Kursaal, Donostia, Guipúzcoa, España.
Puente de tramos rectos de hormigón armado, recubierto por piedra de Motrico y mármol rosa, con elementos decorativos de estilo modernista. Construido sobre grandes pilares, de donde arrancan las seis características farolas que contienen a esta obra su marcada personalidad.
A comienzos del siglo XX. El ayuntamiento apoya la construcción de un tercer puente sobre el Urumea "en el que se armonicen la solidez y la resistencia con la monumentalidad y belleza del conjunto".
El ingeniero Ribera presentó al Ayuntamiento una importante modificación: el puente de la Zurriola, proyecto inicialmente con arcos, será construido con tramos rectos.
El 14 de Agosto de 1921 numerosísimo público acudió a la inauguración.
El barandado metálico y los obeliscos que hacen de farolas son obra de Victor Arana. Las cuatro esfinges de bronce pertenecen a la reforma de 1993. Tienen 120 metros de largo como el puente de Santa catalina con el que mantiene cierta armonía de líneas y es algo mayor que el Puente de María Cristina, de 100 metros.
Años de realización: 1918-1921
Autor: J.E.RIBERA
Bridge of straight sections of reinforced concrete, covered by motric stone and pink marble, with decorative elements of modernist style. Built on large pillars, from which the six characteristic lanterns that contain this work its marked personality.
At the beginning of the 20th century. The city council supports the construction of a third bridge over the Urumea "in which solidity and resistance are harmonized with the monumentality and beauty of the whole".
Engineer Ribera presented the City Council with an important modification: the Zurriola bridge, initially with arches, will be built with straight sections.
On August 14, 1921, a large audience attended the inauguration.
The metal balustrade and the obelisks that act as lampposts are the work of Victor Arana. The four bronze sphinxes belong to the 1993 reform. They are 120 meters long, like the Santa Catalina bridge, with which it maintains a certain harmony of lines and is somewhat larger than the María Cristina Bridge, which is 100 meters long.
Years of realization: 1918-1921
Author: J.E.RIBERA
Seen while walking in our Botanic Gardens which are full of azaleas flowering. I guess the guy in the red skirt was harmonizing with the colours? Maybe?? Or maybe red and blue can hold hands in NZ?
Conditions de prises de vues très diificiles dans cette cathédrale, peu de lumière.
L’orgue de la cathédrale Saint-Bertrand de Comminges possède l’un des plus beaux buffets Renaissance conservé à ce jour et classé Monument Historique depuis 1840. Commandé par Jean de Mauléon, évêque du Comminges, il fut réalisé après l’achèvement des stalles du chœur en 1551.
Comme les stalles, ce buffet serait l’œuvre de Nicolas Bachelier, architecte et sculpteur français (1487 – 1556) à qui l’on doit, entre autre, le célèbre Hôtel d’Assézat à Toulouse.
Le nom du facteur et la composition d’origine de l’instrument nous sont inconnus. Il subira de nombreux avatars au cours des siècles et, en 1793, les tuyaux de montre seront fondus et l’instrument abandonné.
De l’instrument Renaissance enfermé dans ce buffet, il ne reste rien. Pour imaginer en quoi pouvait consister l’instrument commandé par Jean de Mauléon, évêque du Comminges, on en est réduit à formuler des hypothèses, en se référant d’une part à la composition connue d’orgues de cette époque, à la structure du buffet, et d’autre part, à la littérature pour clavier éditée autour des années 1550. Les parties les plus anciennes (2 sommiers de grand orgue de 48 notes et deux petits sommiers de pédale, plus quelques jeux anciens, bourdons et flûtes) remontent aux XVIIe et XVIIIe siècles.
Bernard Raupp, facteur d’orgues à Mirande, a retrouvé des dessins sur des soupapes des sommiers de grand orgue, qui peuvent être attribués à Jean-François Lépine. Le reste résulte des reconstructions successives menées au cours des siècles suivants.
En 1896, les frères Magen reconstruisent l’orgue et livrent un instrument à 2 claviers et pédale.
En 1970, Robert Chauvin restaure les sommiers du Grand Orgue, puis sous la direction de Pierre Lacroix, la reconstruction de l’instrument actuel est confiée à Jean-Pierre Swiderski et réalisée en plusieurs tranches, de 1975 à 1981. À l’exception de 218 tuyaux du XVIIe siècle et de 243 tuyaux de Magen, la tuyauterie est entièrement neuve. Réalisée à la demande, elle a été harmonisée par Jean-Pierre Swiderski pour les jeux de fonds et Georges Lhôte pour les jeux d’anches. L’instrument conserve encore deux sommiers de 14 jeux au Grand Orgue et deux sommiers 4 jeux à la pédale remontant au XVIIe siècle.
Depuis 1974, la commune de Saint-Bertrand-de-Comminges, propriétaire, a délégué ses pouvoirs à l’Association des Amis de l’Orgue de Saint-Bertrand-de-Comminges, en vue de la restauration et de l’entretien de l’instrument.
Very difficult shooting conditions in this cathedral, little light.
The organ of the Saint-Bertrand de Comminges cathedral has one of the most beautiful Renaissance cases preserved to date and classified as a Historic Monument since 1840. Commissioned by Jean de Mauléon, bishop of Comminges, it was made after the completion of the stalls of the choir in 1551.
Like the stalls, this buffet would be the work of Nicolas Bachelier, French architect and sculptor (1487 – 1556) to whom we owe, among other things, the famous Hôtel d’Assézat in Toulouse.
The name of the maker and the original composition of the instrument are unknown to us. It will undergo many avatars over the centuries and, in 1793, the watch stems will be melted down and the instrument abandoned.
Of the Renaissance instrument enclosed in this case, nothing remains. To imagine what the instrument ordered by Jean de Mauléon, bishop of Comminges, could consist of, one is reduced to formulating hypotheses, by referring on the one hand to the known composition of organs of this period, to the structure of the buffet, and on the other hand, to keyboard literature published around the 1550s. in the 17th and 18th centuries.
Bernard Raupp, organ builder in Mirande, found drawings on the valves of the windchests of the great organ, which can be attributed to Jean-François Lépine. The rest is the result of successive reconstructions carried out over the following centuries.
In 1896, the Magen brothers rebuilt the organ and delivered an instrument with 2 keyboards and pedal.
In 1970, Robert Chauvin restored the windchests of the Grand Orgue, then under the direction of Pierre Lacroix, the reconstruction of the current instrument was entrusted to Jean-Pierre Swiderski and carried out in several stages, from 1975 to 1981. With the exception of 218 pipes from the 17th century and 243 pipes from Magen, the pipework is completely new. Produced on demand, it was harmonized by Jean-Pierre Swiderski for the back stops and Georges Lhôte for the reed stops. The instrument still retains two 14-stop windchests in the Grand Orgue and two 4-stop pedal windchests dating back to the 17th century.
Since 1974, the municipality of Saint-Bertrand-de-Comminges, owner, has delegated its powers to the Association of Friends of the Organ of Saint-Bertrand-de-Comminges, with a view to the restoration and maintenance of the tool.
The Mahkama du Pacha, a parliamentary building that not only houses the court of justice but also serves as a reception area for state occasions.
The main problem with the Mahkama du Pacha as a tourist attraction is that, because it is in regular use, it can be difficult or impossible to gain access to the interiors of the building. Still, it is a great place to make a stop and take a few pictures as the building features some impressive architecture. Apparently construction of the Mahkama du Pacha commenced in 1948 and ended in 1952, and the architectural style of the building shows strong Moorish influences. The name of the building can be loosely translated as ‘Pasha’s courthouse’, which is appropriate considering the function of the building. If you are fortunate enough to gain entry, you will discover a wonderful variety of rich furnishings and finishes. The ceiling is made of carved cedar wood that harmonizes perfectly with the chiseled stucco and polychrome mosaics which can be found decorating the interiors. There are also white, marble columns and rigid geometric designs which add the finishing touches to an already unimaginably graceful interior.
Clearly, such a well designed, built and finished building is ideal for use as a state reception room and a court of justice. The building is also sometimes referred to as the ‘Prefecture of Habouss’ and it is definitely worth viewing – even if only from the outside.
Oshino Hakkai is made up of eight spring water ponds. The water is melted snow water that comes from Mt Fuji. It takes more than 80 years to filter through the underground layers of Mt Fuji. On a clear day, the water surface reflects Mt Fuji and appears to be veiled in an almost mystic air. Not only do these ponds provide fine-quality water, but they harmonize wonderfully with the surrounding rustic scenery, and the water of Oshino Hakkai is ranked among the best-quality waters of Japan.
Kawaguchico, Japan
Copyright 2014 © Serge Daigneault
View the entire Japan journey here!
Conditions de prises de vues très diificiles dans cette cathédrale, peu de lumière.
L’orgue de la cathédrale Saint-Bertrand de Comminges possède l’un des plus beaux buffets Renaissance conservé à ce jour et classé Monument Historique depuis 1840. Commandé par Jean de Mauléon, évêque du Comminges, il fut réalisé après l’achèvement des stalles du chœur en 1551.
Comme les stalles, ce buffet serait l’œuvre de Nicolas Bachelier, architecte et sculpteur français (1487 – 1556) à qui l’on doit, entre autre, le célèbre Hôtel d’Assézat à Toulouse.
Le nom du facteur et la composition d’origine de l’instrument nous sont inconnus. Il subira de nombreux avatars au cours des siècles et, en 1793, les tuyaux de montre seront fondus et l’instrument abandonné.
De l’instrument Renaissance enfermé dans ce buffet, il ne reste rien. Pour imaginer en quoi pouvait consister l’instrument commandé par Jean de Mauléon, évêque du Comminges, on en est réduit à formuler des hypothèses, en se référant d’une part à la composition connue d’orgues de cette époque, à la structure du buffet, et d’autre part, à la littérature pour clavier éditée autour des années 1550. Les parties les plus anciennes (2 sommiers de grand orgue de 48 notes et deux petits sommiers de pédale, plus quelques jeux anciens, bourdons et flûtes) remontent aux XVIIe et XVIIIe siècles.
Bernard Raupp, facteur d’orgues à Mirande, a retrouvé des dessins sur des soupapes des sommiers de grand orgue, qui peuvent être attribués à Jean-François Lépine. Le reste résulte des reconstructions successives menées au cours des siècles suivants.
En 1896, les frères Magen reconstruisent l’orgue et livrent un instrument à 2 claviers et pédale.
En 1970, Robert Chauvin restaure les sommiers du Grand Orgue, puis sous la direction de Pierre Lacroix, la reconstruction de l’instrument actuel est confiée à Jean-Pierre Swiderski et réalisée en plusieurs tranches, de 1975 à 1981. À l’exception de 218 tuyaux du XVIIe siècle et de 243 tuyaux de Magen, la tuyauterie est entièrement neuve. Réalisée à la demande, elle a été harmonisée par Jean-Pierre Swiderski pour les jeux de fonds et Georges Lhôte pour les jeux d’anches. L’instrument conserve encore deux sommiers de 14 jeux au Grand Orgue et deux sommiers 4 jeux à la pédale remontant au XVIIe siècle.
Depuis 1974, la commune de Saint-Bertrand-de-Comminges, propriétaire, a délégué ses pouvoirs à l’Association des Amis de l’Orgue de Saint-Bertrand-de-Comminges, en vue de la restauration et de l’entretien de l’instrument.
Very difficult shooting conditions in this cathedral, little light.
The organ of the Saint-Bertrand de Comminges cathedral has one of the most beautiful Renaissance cases preserved to date and classified as a Historic Monument since 1840. Commissioned by Jean de Mauléon, bishop of Comminges, it was made after the completion of the stalls of the choir in 1551.
Like the stalls, this buffet would be the work of Nicolas Bachelier, French architect and sculptor (1487 – 1556) to whom we owe, among other things, the famous Hôtel d’Assézat in Toulouse.
The name of the maker and the original composition of the instrument are unknown to us. It will undergo many avatars over the centuries and, in 1793, the watch stems will be melted down and the instrument abandoned.
Of the Renaissance instrument enclosed in this case, nothing remains. To imagine what the instrument ordered by Jean de Mauléon, bishop of Comminges, could consist of, one is reduced to formulating hypotheses, by referring on the one hand to the known composition of organs of this period, to the structure of the buffet, and on the other hand, to keyboard literature published around the 1550s. in the 17th and 18th centuries.
Bernard Raupp, organ builder in Mirande, found drawings on the valves of the windchests of the great organ, which can be attributed to Jean-François Lépine. The rest is the result of successive reconstructions carried out over the following centuries.
In 1896, the Magen brothers rebuilt the organ and delivered an instrument with 2 keyboards and pedal.
In 1970, Robert Chauvin restored the windchests of the Grand Orgue, then under the direction of Pierre Lacroix, the reconstruction of the current instrument was entrusted to Jean-Pierre Swiderski and carried out in several stages, from 1975 to 1981. With the exception of 218 pipes from the 17th century and 243 pipes from Magen, the pipework is completely new. Produced on demand, it was harmonized by Jean-Pierre Swiderski for the back stops and Georges Lhôte for the reed stops. The instrument still retains two 14-stop windchests in the Grand Orgue and two 4-stop pedal windchests dating back to the 17th century.
Since 1974, the municipality of Saint-Bertrand-de-Comminges, owner, has delegated its powers to the Association of Friends of the Organ of Saint-Bertrand-de-Comminges, with a view to the restoration and maintenance of the tool.
Sitting at the dock in Baie Comeau on this ice cold April morning is CN's George Alexandre Lebel, being loaded by SOPOR GP38-2 4998.
Built in 1975 in North Vancouver by the Burrard Drydock Co for Canadian Pacific for a project of rail ferry between Pointe-au-Pic and Baie Comeau that never materialized, it was initially named the Incan Saint-Laurent before being bought by CN. Canadian National renamed it the M/V Georges Alexandre Lebel and leased it to COGEMA (which later bought it in 1993). On January 31st, 1978 the ferry made its first cargo transport between Baie-Comeau and Matane, with the official service inauguration taking place in May 1978.
COGEMA (Compagnie de gestion de Matane) was from the beginning in 1973, a subsidiary of Canadian National. Everything materialized when CN bought the Canada Gulf & Terminal railway between Matane and Mont-Joli in 1975. COGEMA was sold in 1999 to the Quebec Railway Corporation, and the ferry service between Matane and Baie Comeau continued under the QRC umbrella until 2008, when CN bought back the assets of the Quebec Railway Corporation. When CN returned in 2008, it started expanding the rail ferry service to connect with Arcellor Mittal (formerly Quebec Cartier) in Port Cartier and to the Quebec North Shore & Labrador in Sept-Îles on demand.
Upon CN's return in 2008, the company had since bought the Great Lakes Fleet in Duluth, Minnesota. Rather than leaving it painted in the former COGEMA blue and green scheme, CN decided to paint it in the familiar Great Lakes Fleet paint scheme in an effort to harmonize its fleet of maritime vessels.
🌆 Havana at Dusk: Beauty, Burden, and the Burnt Sky
As the sun sinks behind the Capitolio’s neoclassical dome, Havana exhales a palette of fire and ash. The sky ignites in surreal hues—orange bleeding into violet, cobalt streaked with soot—casting the city in a cinematic glow that’s both breathtaking and unsettling. This isn’t just tropical sunset magic. It’s the particulate signature of Havana’s power plant, burning low-grade bunker fuel shipped from Venezuelan refineries. The result: a sky that stuns, but stains.
Below, the Hotel Telégrafo anchors the foreground, its colonial bones bathed in amber light. The city’s architecture—ornate, weathered, defiant—stands as both witness and participant in this daily ritual. Tourists marvel. Locals endure. The air carries the scent of salt, diesel, and resilience.
This is Havana in transition: a city where beauty and burden share the same skyline. The Capitolio gleams, but the clouds above it whisper of trade deals, energy scarcity, and environmental compromise. And yet, in this moment, the scene is undeniably poetic—a testament to the layered truths documentary photography seeks to reveal.
Capturing the Capitol: The Edit ️
The architecture of Old Havana is grand, but often the lighting at dusk can leave the city’s most iconic landmarks lost in the shadows. For this shot of the Capitolio, the original capture was moody and heavy with purple tones, but I wanted it to glow with the same energy as the rest of my Havana shifting from day to night series.
The Goal: To reveal the intricate architectural details of the skyline while harmonizing the dramatic sky with a cohesive golden-hour palette.
The Process:
Shadow Recovery: I significantly lifted the shadows on the Hotel Telégrafo and the Capitol dome to bring out the textures of the stone and scaffolding that were previously hidden.
Neutralizing the Purples: By adjusting the white balance tint and temperature, I moved away from the deep magenta cast and toward a more natural, radiant sunset warmth.
Cinematic Color Grading: I used the color wheels to inject a warm orange into the highlights of the clouds while keeping a cool, subtle teal in the deeper sky for maximum "pop".
Targeted Detail: I added a touch of clarity and sharpening specifically to the building facades to ensure the urban density feels sharp against the soft, rolling clouds.
By bringing these details forward, the image now feels like a true companion to the wider skyline view, capturing the majestic transition into the Cuban night.